Emboldened by witches’ prophesies and with strong encouragement from his wife, Macbeth turns into a power-thirsty man who uses violence to annihilate everything in his way to seize Scotland’s throne. Verdi’s ominous score is enhanced by dramatic stage effects: dark sets punctuated by thunder and lightning; ghostly appearances of witches and three demonic children; bloodied bodies rising from the dead. Although the murders are all swiftly carried out, David McVicar‘s COC/Chicago co-production delivers a longing sense of foreboding and some genuinely frightening moments.
What you missed
There was all-round good singing from the male leads. American baritone Quinn Kelsey’s debut as Macbeth proved him a good fit for this role. His luscious voice commanded the stage, and his transformation from a hesitant accomplice tormented by guilt to a determined, blood-thirsty murderer was convincing. Turkish bass Onay Kose was equally solid as the ill-fated Banquo. It was easy to feel his anguish as he bade farewell to his son, sensing that his death was near.
Photo: Michael Cooper
Tenor Matthew Cairns deserves special mention as a superb Macduff. This talented young Canadian was a COC Centre Stage winner and a graduate of the COC Ensemble, who went on to become a grand finals winner of the Metropolitan Opera Laffont Competition last year. His “Ah, la paterna mano” was sung with real pathos, his creamy voice leaves us yearning for more. Let’s hope the COC brings him back for more major roles.
The COC chorus was prominently featured, with top-notch singing especially in a cappella. There was fine acting from the women as witches. The all-Canadian supporting cast with Tracy Cantin (Lady in waiting), Adam Luther (Malcolm) and Vartan Gabrielian (Doctor) all held their own. Under the meticulous baton of Speranza Scappucci, the orchestra was in fine form and complemented the sotto voce parts especially well.
Gripes
I must admit that I was most disappointed that the great Sondra Radvanovsky pulled out as Lady Macbeth. She is replaced by two emerging sopranos, Bulgarian Alexandrina Pendatchanska and Ukrainian Liudmyla Monastyrska. Verdi sought “a harsh, stifled, dark timbre” for the role to produce what the composer described as “the voice of a devil. ”Unfortunately, Pendatchanska‘s sound did not live up to this description. I kept waiting for the scheming wife to turn up her evilness, but her emotions remained rather flat throughout. Even when her plans succeeded and she became queen, I did not sense any rapture. To be fair, she nailed those high D flats with precision, and Lady Macbeth’s famous sleepwalking scene was touchingly-sung.
Canadian Opera Company presents Macbeth at the Four Seasons Centre for the Performing Arts in Toronto on April 28, 30, May, 6, 12, 14, 17 & 20, 2023. www.coc.ca
